“Transfiguration” Trio
Elements of analysis
Harmonically
speaking, the work is structured by a “rainbow” chord (containing all
intervals).
At a more local
level, the work is structured according to two small “rainbow” chords X
and Y each of four pitches.
Throughout the
work, a number of intervals give a particular colour to different moments. Each
interval is associated with a pair of absolute pitches from the vast
aforementioned chord.
A particular
harmonic field is constructed upon each pair of intervals, composed of
different “rainbow” chords ordered according to their common pitches. These
chords are pulled from the reservoir of the 94 chords of this type that are
retrogradable and exempted from tonal triads like diminished-7th
chords.
Rhythmically speaking,
the work is striated from one side to the other into four vast and regular
trains of pulse (composed respectively of 27, 64, 42 and 75 scansions) of which
the only instances of general coincidence articulate the end of the
introduction and the beginning of the coda. These trains subterraneously ‘skeleton’ the work.
- The “dancing”
gesture results from the superposition of two rhythmic motives that intervene
at a number of reprises in the work (the pitches here only serve to index the
durations).
These two
superposed motives put the different scansions in a bar of 6/16 and a bar
of 8/16:
In terms of
instruments, the work sets in play several specific musical categories:
- In a number of
these moments, the trio adopts a conception put forward by Schumann: a piano
accompanied by two friends (“a performer full of fire at the piano and two
understanding friends that accompany him sweetly”), while at the same time the piano
part to a large degree takes up material from my previous works for solo piano:
Des infinis subtils.
- The clarinet is
conceived as an instrument at different juxtaposed registers (the clarinet
named “registered” the origin of which we can discern in certain brief passages
in Mozart – the Concerto and the Quintet) rather than as a single instrument where the thresholds
between registers (chalumeau / clarino / altissimo) would be effaced or
neutralised. An entirely particular predilection is carried to the lowest
formant of the instrument.
- A heritage
of Schoenberg, the violin is conceived as “the great nomadic violin” which
moves to and fro across vast registers in broad and majestic steps. Taking
after Schumman and Prokofiev (the sonatas for piano and violin), the work
privileges the low register of the violin where it becomes sedentary.
- The piano
borrows its fantastical character from the Schumann’s piano style, revisited by
Elliott Carter (Night Fantasies), its violence and its savagery as in the first Boulez
sonata taking largely from the use of the third pedal such as was introduced by
Schoenberg in his opus 11 in order to deploy its resonating power.
- Beyond these
instrumental specificities, the work deploys a form of instrumental
indifference, taking its model from Bach and Schoenberg. This “instrumental
indifference” requires that the same musical point of view circulates between
different instrumental bodies without being caught up on the characteristics of
such and such an instrument. The musical idea, here becoming incarnated in
undifferentiated bodies, exerts a violence that liberates in the instrument a
hitherto ignored power of expression (whereas brutality, as opposed to
violence, stems on the contrary from destroying the singular musical power of
the instrument).
Formally, the work is structured in a
garland of “gesture-moments”:
Introduction
1st
Third: R1- (I)-F1-H1- (I)-D1- (I)-R2- (I)-F2- (I)-D2- (I)-H2- (I)-R3
transition
: D3- (I)-F3
2nd
Third (1): H3-R4- (I)-D4- (I)-H4
middle
: (I)
2nd
Third (2): F4- (I)-R5-H5
climax
: (I)-D5- (I)-F5
3rd
Third: R6- (I)-H6- (I)-F6-D6- (I)-R7- (I)-F7-H7-D7- (I)-R8- (I)-F8-D8
Coda
[
where R = moment of reverie, F = fluid gesture, H = hocket-gesture, D = dancing
gesture and I = intermezzo]
- The introduction
is composed of “style-citations” borrowing, successively, from:
§
Schoenberg
(Moses and Aaron): the great nomadic violin,
§
Prokofiev
(first sonata for piano and violin): the shadow from which the piano and violin
emerge,
§
Schoenberg
again (Pierrot Lunaire): the sombre, but not obscure, night;
§
and
finally Bartok (Contrasts): the gravity of a choral-procession.
- The middle of the
work is signalled by a style-citation (“popular” scordatura violin) borrowing
again from Bartok (Contrasts).
- The climax, at
the end of the second part, quotes one of my works (Toccatine, for guitar). This offsets for
a moment the four trains of periodic pulse that skeleton the entire work.
- The coda
summarises the harmonic route of the work in order to better liquidate it and
leave it to run aground in fine on the two rhythmic motifs composing the “dancing gesture.”
The form of the
work could be viewed, beyond the garland of “gesture-moments,” starting out
from the instrumental point of view indicated above. The concern of the trio
then becomes the traversal of the inherited instrumental singularities (the
great nomadic violin, the registered clarinet, the fantastical piano – resonant
and violent) in order to better conquer, by way of instrumental indifference, a
new collective identity of the trio:
- no longer the
Schumannian formulation (friends centred on the piano part),
- nor a polyphonic
and contrapuntal logic passed on by Bach (voices in canons and imitations),
- nor the
superposition of independent instruments, three parallel worlds (heterophony),
- nor a classical
matrix of potential conflicts (oppositions, interruption, tensions and
resolutions),
but a new
collective musical body invented by the work, a body of which each instrument
is no longer simply a member, a body that thus conquers through bitter struggle
the glory of the Impersonal.
We could thus metaphorise
this movement in the following manner: the instrumental particularities of the
three instruments are plunged into a pre-existent musical situation (Des
infinis subtils) like electrodes into a tub of electrolysis. From this proceeds a
dynamisation of the situation (a new force-field by magnetisation) and a
condensation around the electrodes (the constitution of magnetic poles whose
radiation exceeds the internal metallic structure of the electrodes). That is,
a music which magnetises the inherited musical bodies and radiates them by way
of new musical poles, beyond their structural particularities. That is to say,
a music that prevails over the instruments, enveloping them, regenerating them
rather than following them in more or less servile fashion.
For the trio (read:
the instrumental formation and the work) it is a matter, in sum, of
transfiguration.
The compositional
concern of the trio comes in fact under what have named “the diagonal style of
musical thought,” a style that seems to me able to be discerned in Schoenberg
and, retrospectively, in Bach and Schumann (perhaps equally in Haydn).
In order to set to
work this style of thinking, in this case for “diagonalising” a work for piano
(Des infinis subtils) by means of an instrumental trio, it appears that one thing is
the style of thinking (which gives form and perspective to the labour of
thinking, to its “making music”), and another thing is the result: in this case
the work which proceeds from this “doing” and this labour. It is in fact essential
that the power of musical thinking is no more assured of its own style (the
risk of thinking becoming mannerism) than of its result.
It seems to me that
there is no better nomination of what emerges here, in this labour of thinking,
than by convoking a word that ties two categories together: that of the figure
and that of traversal.
It is as such that
I name thus the concern of this trio:
That
the diagonal style of thinking reveals its power of transfiguration!
(F.N., April 1997)
(Trans. Liam Flenady)